02
ALMOST TOUCHED
MASTER’S GRADUATION INSTALLATION
04 GRANDMA BAKERY
AKMERKEZ BAKERY DESIGN
SHOWROOM & OFFICE DESIGN 01 DE WITT DORDRECHT
CINEMA & CITY BRASSERIE
KIDS SHOWROOM SKECHERS TR 05 03 THE GALLIARD DUBAI BRASSERIE DESIGN 06 V FACTORY EXPORT DIVISION
LOCATION I dordrect, NL
DURATION I 2022 - 2023
PROJECT AREA I 1640 sqm
TEAM I esther stam, agnese pellino, natalia nikolopoulou, beata karlsson
*I was part of the design team for developing & improving conceptual design ideas, brainstorming, making site anaylses and spatial planning *almost daily meetings with the rest of the team
*design phase: preliminary design to final design
-conceptual developments of design elements, materials & FF&E specifications including custom-made producements
-developing very detailed 3d modellings -developing main application drawings (draft) -close relations with suppliers, fabricators and manufacturers to produce spesific & custom-made items, materials
a building through time, shifting functions and shaping history
located right infront of Kunstkerk (‘The Art Church’), a platform for artistic development and innovation, it contributes to establishing a new cultural hub in the city
All-day brasserie and cinema in Dordrecht, a place where Dordrecht residents, youngsters, parents with kids, movie house visitors, regulars, day trippers and tourists can go for a warm coffee, a special tap beer, freshly baked bread or a delicious dish from a surprising menu; a place to visit for a movie or an event organised in the space on the first floor; where to enjoy the sun on the terrace or a drink in the new city garden.
The design concept captures the building’s rich history. Before settling as a cinema, it served as a convent, school and laboratory.
Studio Modijefsky wove these historical layers into a timeless visual language with expressive shapes, warm colours and materials that incorporate and evoke echoes of the past.
research_history of building building additions by time
zoning_ functions
entire space is opened up to create one larger brasserie boasting a main area, three smaller areas and a bar. They’re all connected by clear sightlines that allow light to flood in from outside. To make the space more welcoming, the orientation was rotated to face the square outside and invite the city inside.
usage scenarios _ for different time slots
CONCEPT_ historical layering layers from existing building histories are chosen as concepts
CONCEPT _ historical layering projected on new usage scenarios
designconcept aims to wove these historical layers into a timeless visual language with expressive shapes, warm colours and materials that incorporate and evoke echoes of the past. From the convent the iconic motifs are: the cloister (the secluded walkways that nuns use for meditations); the wimples (the head covering nuns wear); and the habits, the nuns’ clothing.
To firmly root De Witt in its community, the colour palette developed by Studio Modijefsky adheres to the ‘Dordtse kleuren’. This the city’s official colour palette, based on Dordrecht’s historic buildings. As Dordrecht was the first city in the Netherlands to adopt its own palette, it’s a further symbol of civic pride
For the cinema, the design evokes the old-school glamour of the silver screen with curtains, luxurious drapery and spotlights.
The lights reflect gently off the darker walls and ceilings surrounding them to create an intimate atmosphere and lead you to the heart of the brasserie: the dramatic bar. The bar itself is crafted like a curtain, with waves carved into its wooden base. As a nod to a classic brasserie the bar top is made of zinc. The feet of wine glasses are positioned to hang just beneath the curtain, appearing like a ballerina’s dress beneath the curtain.
The veins of the oak travel in two directions to form an eye-catching contrast: vertical on the bar, horizontal on the base.
The school’s presence is felt in the corridors, with tiled walls, windows looking into classrooms, bulletin boards and class benches. Chemistry sets represent the laboratory in the shape of test tube and their holders, and protective glass screens
the main seating area opposite the kitchen is also elevated. They both stand on a warm-coloured, chess-patterned stone floor consisting of Aigües tiles handmade in Mallorca. The elevated parts of the brasserie are differentiated by an alternative floor pattern that has square instead of diagonal floor tiles.
DURATION I 2021 - 2022
TUTOR I eric de leeuw TYPE I individual web_ dutch design week 2022
“ALMOST TOUCHED” touch without touching..
relating to sense of touch, using the senses of touch from Greek haptikos ‘able to touch or grasp’
contemporary touch
We are living with COVID-19 for years now. As outbreak has revolutionized the life of almost every human being; people had to radically change their habits and adapt to circumstances. As social distancing is in each and every part of our life now; we give a second thought before we touch to anything.
In this new reality, touch has taken on a different form, one that we can call “touch without touching”
This final project aims to explore “touch without touching” and air, as an emerging element discovered along the processes, becomes main tool to discover more about the space and what it can offer. Project looks closely to the elements of air, its po- tential and aims to foster a sense of connection and belonging. Air here acts as a medium, which immaterial air can manifest itself. And it promises variable aspects of space to be discovered.
WHAT ELEMENTS OF AIR CAN LEAD SPATIAL & BODILY REALIZATIONS?
HOW THESE ELEMENTS OF AIR CAN SERVE FOR ALMOST TOUCHING EXPERIENCE ?
The COVID-19 pandemic leaded to a renewed interest in the role of touch in shaping our experiences. Touch can be broadly classified into two categories: active and passive touch. Active touch involves intentionally seeking out and exploring objects or surfaces, while passive touch involves simply allowing oneself to be to be touched or experience touch without actively seeking it out. Artists and designers are experimenting with creating immersive, tactile experiences that prioritize passive touch, which has the ability to perceive pressure, temperature, air and other physical sensations through our skin.
as a main tool to explore
case study 01_
case study 02_
The “Weather Project” by Olafur Eliasson and “Mist Encounter” by Serendipity Studio both use mist as a key component in their installations to allow visitors to experience the tactile sensation of mist on their skin. Both installations prioritize passive touch and play with temperature as the coolness of the mist can heighten visitors’ sensory experiences.
Merleau-Ponty posits that the human body is the primary means of knowing the world. Below projects mentions about the explorations embraced by the desire for sensory, physical experiences.
“break through the conditioning in the general pattern of experience and behavior“
Each new creation offered unprecedented, alternative ways to experience and apprehend the urban environment on a human body scale, through the use of inflatable structures. The aim of the Eventstructure Research Group was to surprise people, in which sense they capitalized on developments in art and society.
‘expand the perception of space’
Based in Vienna, in the 1970s, Haus-Rucker-Co the collective of artists and architects set out to explore our perception of space by realizing ideas and concepts in the shape of airy spatial projects. Thet did interactive exhibitions and their development of utopian architectural ideas, set out to develop a “new concept of architecture” which showed how people could affect their own environment.
“makeable, mobile, light, and free from authorities.”
‘exploring the possible potentials about living space’
Architects working with inflatable structures sparked a body of utopian and critical research on ‘pneumatic’ architecture. They produced imaginative, visionary works that defined a new relationship between the human body, living space and the city.
“there is a pore almost in everything, thats how air gets in.. “ air flow through interruptions, disruptions..
through skins..
*skins of beings
*skins of bodies
*skins of earth
*skins of buildings
*skins of cities
*skins of space ?
*SKINS OF BEINGS
example:seashell
keywords: cavity, opening, hole, channel
*SKINS OF BODIES
example:human-animal body keywords: breath, nasal, mouth, alveol, pores
*SKINS OF EARTH
example:termite nest keywords: opening, cave, volcano, pressure
*SKINS OF BUILDINGS
example:chimney, door, window keywords: ventilation, heat, pressure
*SKINS OF CITIES
example:windcather
keywords: ventilation, opening, heat, airflow
01 . type of opening when opening is fixed on all sides it offers fluid volumes without fixed boundaries
02 . size of opening as opening size increases, its volume increases in size
03 amount of air as size increases; it requires enough amount air to gain its volume
04 time & movement of air when movement is added to air source different spatial configurations can be accomplished
01 . type of opening _ opening area fixed on all sides
02 size of opening _ small, middle and big
03 . amount of air _ calm (volume 1), moderate (volume 2), hurricane (volume 3)
04 time & movement of air _ synced and rotating
LOCATION I down town dubai
DURATION I 2018 - 2019
PROJECT AREA 1200 sqm
TEAM I mahmut anlar, tugce rizeli
*design phases: from preliminary design to its execution weekly meetings with the team *main role: design & project lead responsible designer for developing conceptual, artistic and spatial design ideas and translating them into designs, being an creative eye. worked closely with branding&identity and production teams and managed all design related developments and interventions to its execution.
-artistic&design research, sourcing design ideas and translating them into moodborads and presentations, -developing main application drawings (draft) -close relations with suppliers, fabricators and manufacturers to produce spesific items (mostly worked with custom-made producements) -managing must-have details and necessary prototyping.
The Galliard offers a contemporary Mediterrian Fusion concept with the Mediterranean twist. The brasserie is on the first floor of The Address Downtown Headquarters is just located next to the Burj Khalifa.
In Mediterranean dining cultures, food presentation is often theatrical, creating a fulfilling and multisensory experience. The visual appeal of the dishes, combined with the crackling sounds of fire, enhances the immersive atmosphere. Design approach aims to transform the space into a stage, with spatial planning and interventions reflecting this dramatic and sensory-rich experience.
In this multidisciplinary project, the menu, branding identity, product design, and interior concept are crafted in unison, weaving together a seamless tapestry of design. This holistic approach aims to ensure that each element harmonizes with each other, forming a cohesive and immersive experience for the brasserie.
A concept for an immersive dining experience that focuses on enhancing theatrical and sensory interactions. The spatial arrangement of the dining area is designed to draw attention to a central focal point, with seating zones extending towards this point. To strengthen the perception of these seating zones, you’re implementing interventions at various elevations. The design incorporates structural elements in a way that minimizes their visibility, and the main design motif involves the repetition of wooden planks, each serving a specific purpose in enhancing the dining experience.
CONCEPT STAGE_ development of design elements_ dynamic scenes as bodies move
1.1. dining area as a stage
+ entrance area as a foyer
1.2. focal point at the central dining area (stage)
+ entrance and service area is elevated (foyer)
The main concept for the interior design is inspired by the theatrical stage. Hanging wooden panels, reminiscent of back curtains in a theater, transform into seating benches while simultaneously supporting ambient lighting above. Interspersed greenery adds a natural element to the design. These panels frame the dining area at eye level, enhancing the experience by allowing guests to appreciate the interplay of light, surfaces, and the dynamic scenery from multiple perspectives.
CONCEPT STAGE_ framing the scene
1.3. focal and dining area to extended to upper elevations with stage hints
+ clear entrance route is created that broadens at the end with foyer hints
Warm light projects through the linear wooden panels and shelves, transforming them into planes of light that reflect off surrounding wooden surfaces, glass, mirrors, and metals. Reflective and mirror-like elements at varying elevations and on the ceiling create a symphony of light and reflections. This design strives to give the restaurant a stage-like quality, provoking curiosity and inviting intrigue from those passing by.
Visibility gains importance for the open-kitchen part as primary means of communicating with the users in order to express living cooking experience and enrich the dining experience. Custom-made colourful oil bottles are designed and shelves are stored with them alongside the cooking materials. The desired atmosphere is aimed to be created through brass frames and fluted glass at different opacities depending on its location.
3d render,try outs for transperancy object ideas for showcasing
LOCATION I istanbul, turkey
DURATION I marc.2016 - agu.2017
PROJECT AREA I 240 sqm
TEAM I basak emrence, ece ilgin avci
EXEC. TEAM safak emrence, pınar sünbül web designboom, archdaily
RESPONSIBILITIES
*main role design manager & design-lead, responsible designer for developing conceptual & spatial design ideas and translating them into stories and designs.
*managing/leading all design related developments, both among the team and third parties
*design phases: preliminary to final design
-project management
-spatial planning & concept development & very detailed 3d modellings
-developing custom-made drawings, source material specifications, managing prototypes -close relations with suppliers, fabricators and manufacturers to produce spesific items -managing must-have details, optimizations
QUESTION : WHAT MAKES A SPACE FAMILIAR, LIKE YOU ARE AT YOUR GRANDMA’S TERRACE?
SMELL?
EXPERIENCE & SPENT YEARS?
FURNITURES?
YEARS OF COLLECTED OBJECTS?
Design brief
Design proposal
Grandma’s second bakery is located on the street level of a renowned shopping mall. Building on the success of the first branch, the client seeks to enhance the menu and expand the customer profile while preserving the cozy atmosphere and cherished values that have defined the original location.
The design concept draws deeply from the established branding identity of Grandma’s first family-run bakery, aiming to evoke the same warmth and familiarity. The space is crafted to make patrons feel as though they are sitting in their grandma’s backyard, using an eclectic mix of elements to conjure memories and blend layers of past and present. The design highlights the seamless coexistence of history and modernity, providing subtle hints of nostalgia and belonging.
*‘Feeling like they own something rare and exclusive, a gem in an urban landscape..’
*frameweb
Grandma is planning to be a family-run bakery chain, who is new at the sector. The shop is located at the entrance part of very famous shopping mall in Etiler, occupies a strategic location on the main pedestrian high street. Grandma gains its name after its owners grandma’s special bread recipes. In this artisan cafe-bakery, products are baking in the traditional, organic methods and are get launched to the customer.
*grandma first bakery at nisantasi (worked as junior designer)
The first shop is very small, and occupies a strategic location. First bakery’s wellcoming reviews encouraged owner to open its second bakery at a very critical location.
The concept has began to its journey with its neighbourhood bakery identity, which aims user to feel wellcoming and qualified atmosphere. For this reason; each and every dwelling at bakery place aims to present its own individual character and charm.
the shedlike multifunctional structure _ defining our bakery space &framework for design idenity & elements
The existing area, encased in outdated materials on every surface and floor, calls for a transformative update. A shedlike light structure is proposed to delineate and refine the space, offering Grandma bakery a clear separation from shopping mall and separation between different functional zones—baking, coffee, and pastry. This structure will also serve as a framework for incorporating essential elements such as closets, menus, and lighting fixtures.
By using white as the dominant color and weaving together a rich tapestry of textures the design aspires to evoke a warm, homely ambiance reminiscent of cherished memories. The interplay of patterns and textures cultivates a cozy, lived-in atmosphere, inviting visitors to feel in comfort and familiarity.
In the seating areas, an eclectic mix of furniture and fabrics come together to evoke a sense of spontaneity and lived experience. Most of the furniture is bespoke, crafted specifically for the store, while select pieces have been thoughtfully sourced from vintage stores, adding a touch of timeless charm.
*corner areas inside the shopping mall
*custom-made wall lights
LOCATION I istanbul, turkey
DURATION I nov.2015 - feb.2016
PROJECT AREA I 55 sqm
TEAM basak emrence, ece ilgin avci
web frame magazine, archdaily
*main role: project & design lead, responsible in all phases of conceptual design development especially for boy’s adventure category + regular site visits for execution
-spatial & artisticplanning & concept development of -developing detailed custom-made drawings -develop, source and manage all the material specifications
-close relations with suppliers, fabricators and manufacturers to produce spesific items -worked closely with site to coordinate pre-construction information and managing must-have details.
We were asked to design kids showroom that will reflect, embrace brand’s new kids shoe line. Besides the required separation between girl and boy shoes, there are also particular specialized shoe-line that would be renewed seasonaly.
Kids tend to perceive their surroundings as playgrounds. The project reimagines spatial design from a child’s perspective, viewing the environment as a joyful playground. The design aims to bring movement, adventure, playfulness and joyous atmosphere to the space. It looks closely to children’s perception of a space and how they interact with their surroundings.
This project reimagines a space through the lens of a child’s imagination, aiming to capture a sense of awe and wonder. Inspired by playground activities, the design encourages movement, exploration, and interaction. Features such as climbing structures, interactive installations, and sensory elements create a dynamic environment reminiscent of children’s play.
*child perception inspiration/example pictures
At the heart of the space is a continuous circular structure that guides visitors through different areas, enhancing both navigation and visual appeal. This circular form defines distinct zones within the space and serves as a framework for hanging various elements, adding a unique and captivating visual dimension.
One of the most significant challenges of the project is to create a balance between the exciting, colourful and childish feeling that aspired to be created in the space and kids products that have a wide colour, pattern and tissue palette which will be displayed on the space. It’s aimed for the space to make itself consist without precludin the products and be able to integrated with the products at the same time.
Shape and materiality of the space indicate the program, spaces are round and aims to evoke joy of play & adventure through their collected memories. In space, such as basic geometric shapes, funfair, candies, ferris wheel, fun and colourful play spaces , components like basic joint details, curvilinear forms, wheels and slight units that symbolizes dynamic movement composed in the space.
Demand for seperating boys and girls shoes, displayed in the space, is provided by the colour difference on module brackets.
shelf systems
A shelf system is situated in boys category that the adventurethemed products of the brand can be displayed on, which implies climbing experience and part of spherical world.
LOCATION I istanbul, turkey
DURATION I 2015
PROJECT AREA I 250 sqm
TEAM I basak emrence, safak emrence, ece ilgin avci
RESPONSIBILITIES
*main role: junior designer developing conceptual & spatial design ideas and translating them into designs especially for entrance and ARGE areas
*design phases: preliminary to final design & execution
-spatial planning & concept development & very detailed custom-made 3d modellings, -developing custom-made drawings, source material specifications, FF&E producements
-managing must-have details, optimizations, prototypes web archdaily, retaildesignblog, selected 100 interiors of turkey
Project is designed for a textile company named Vigoss who has an international name in the jeans market. We are asked to design an export division which will consist 3 main group: manager’s office, showroom & operation office
Instead of defining the locations of each activity – sitting, working while in motion, leaning, meeting, accessing hangers, and observing products from different distances – we wanted to create a sense of freedom. Our design is intended to increase and diversify the ways in which employees can interact with each other and with the space itself. Existed R&D showroom design across the floor (that was also designed by Zemberek design) refers to expected aura and material desicions.
The project consist of a space designed for utilisation of the export division and a lounge area which serves that space, within the headquarter of a textile company. The export division is composed of three main group; manager’s office, showroom and operational office which are seperated from each other plainly and these parts should have been visually related, also protect their aural privacy.
studied sections of functions later come together to form the spatial arrangements
The concept revolves around three transparent main boxes positioned next to each other, each fulfilling different functions. These boxes form a central axis within the space, avoiding contact with the existing walls and floor. Each box is connected to shared ramp, aiming to create cohesive visual and functional connection. Along the main axis, a continuous white paneling extends throughout the space without any interruption. This paneling serves as a versatile design element, adapting to the specific requirements of each box’s function. For instance, it initially defines the flooring in the manager’s office and subsequently transforms into showroom elements at various elevations, adding dynamic visual interest to the overall design.
Main boxes consist of iron construction and glass . Separating situation of the platforms and the ramp, reflected to the materials as walnut laminate parquet on the ramp and white coloured polyurethane finish on platforms.
In the lounge area, a curvilinear seating unit has been designed for shorttime meetings and events, accommodating both company employees and guests. This seating unit aims to create an interactive space with a feminine touch, contrasting the overall architecture of the building.
I tried to explain my motivations in the following pages. I used pictures from my previous works.
‘AFFORDANCES’ and ‘SENSE OF SPACE’ affordances: ‘the potential of an action/ feeling provided by the environment..’
There is a symbiotic relationship between humans and their interiors. We visit interiors not only for fulfilling a functional need but also for an emotional need. When those needs are met; we relate with our surroundings more.. Scattered hints and cues alongside well-thought details have its power to evoke distinct emotions or actions. In accomplishing such relations and experiences; I recognize ‘the affordances’, in other words ‘the possibilities for an action provided by the environment’. As a designer, my top motivation is to accomplish this powerful relationship and capturing and embodying the very soul of a space— crafting environments that resonate with users. In doing so, I have found my motivations are powered by psyhology of human behaviours, interactions and observations from everyday life as they evolve everyday. It motivates me to explore the realities and motives of what makes a meaningful environment for users.
‘MULTI-DISCIPLINARY APPROACHES’ and ‘INCLUSIVITY’ in design
_collabration sparks new idea s
Walter Benjamin defines aura as ‘a force arising from its uniqueness.’ We have this close relationship as designers and makers. Designing and thinking together as we look at the same things from different points of view with makers, we can easily initiate an open dialogue and learn from each other. Those dialogues with creative individuals and makers are mutually beneficial, as it enables us to uncover new aspects of design and space, fostering a sense of unity and totality.
Featuring local crafts and production technics adds another valuable layer to the spaces, enabling more enriched stories to be told. As I got a chance to experience multidisciplinary design environments and got to work with unique to space producements, I am confident to express those provided me valuable insights and learnings about ways of approaching the space, surfaces and textures and their nature. Those experiences keeps reminding me that limitations are often illusionary and the key lies in rehearsing solutions together and that evolve over time.. It leads to an experimental and courageous mindset. I find this aspect of design quite essential, not only for the development of designs but also for making the right interventions along to path to execution. By engaging in a continuous dialogue with other disciplines and makers, I believe a refinement, richness and depth can be accomplished.
dynamic relationship among bodies and its surroundings
We become bodies when we design for an experience; we enter, we turn, we sit and we dine with the users.
We observe and we reflect on our experiences and discoveries.
As we embrace some of them, we left some behind, too. Yet, we gain fresh new insights about space everytime.
